The film is a contemplation of life through the prism of war. It is a premonition of global world changes... and a hope for the prudence of humanity.
Human beings live in a world of memories, fears and passions, dreams and hopes. In our memories, we increasingly want to return to the world of childhood - summer, where joy and light reign, as opposed to cruel reality, loneliness and existentialism. But it is becoming more and more difficult to get into this world, to dissolve at least mentally in the sun's glare. This film is about man in nature and nature in man, about cyclicality, the beginning and the end - the path to eternity. Autumn is heading towards winter, and we are so eager for light.

A woman is experiencing a lucid dream. Or perhaps she is being reprogrammed. She believes she will die in the morning. Or perhaps she is already dead. WENT THE NIGHT WELL? collages the dialogue of Diana Dors with the music of Delia Derbyshire and Paul Zaza. The montage contains shots from 40 classic films.

How to step into a new kind of Jerusalem without becoming what we feared? How to leave behind every notion of the chosen few, and embrace the ones along the way, finding a promised land in each other. Based on an excerpt from the poem Red Sea: April 2002 by Aurora Levins Morales, a disabled Puerto Rican Jewish writer and activist.

Our newest collaboration with renowned poet Lucy English combines footage shot on location In Cancer Alley with images of nature, especially cypress groves, which are as fragile and as threatened as the Cancer Alley communities. The visuals are accompanied by a poem about what it is like to live in the small towns near the Mississippi River, between East Baton Rouge and New Orleans, which are now dominated by more than 200 chemical plants and oil refineries, sometimes literally located in residents' back yards. The cypress trees can live for more than 1000 years, if they are not chopped down for cypress mulch or their habitat destroyed. Human lifespans are much shorter, but we may not survive as a species unless we stop living as if all that matters is today, and learn to think on the time scale of the trees.

"Nocturnal Dream Disposal" is the first part of "Vernacular Dreamscapes" a multi-part audiovisual project with texts by Marc Richter, music by Black To Comm, visuals by Neue Deutsche Kunst (all the same person actually) and the voices of five artists of which Inger Wold Lund and Felicia Chen (Dis Fig) can be heard as short voiceovers in this film.
The overall theme of "Vernacular Dreamscapes" is nature as a zone of the unknown and uncanny, an alien and alienated territory, a deserted zone. This is counteracted by the appearance of dreamlike and absurd phenomena and inscrutable cavernous architecture. A stringent plot is never revealed, reality remains vague. The zone is inhabited by places, dreams, voices and supernatural creatures and artifacts; drug-induced experiences are creating a psychedelic time-stretching experience. We’re reminded of so-called "Involuntary Parks“, forbidden areas made uninhabitable by human-made disasters.
A primitive AI creates a world where Dhalgren meets The NeverEnding Story in Stalker/Ballard territory.

“Postmodernism represents a moment of suspension before the batteries are recharged for the new millennium, an acknowledgment that preceding the future is a strange and hybrid interregnum that might be called the last gasp of the past.

A symphony of marine mammals in an artistic composition that takes up the rhythm and melody of various seals and whales and puts them together to form a SymphonAntArctic Orchestra. It is accompanied by an image orchestra of ice, water and whales. Both sound and video material are taken from scientific field research and find a new expression in artistic processing.

Magic occurs when the Swedish film composers Sebastian Rubinstein Öberg and Magnus Jarlbo together with the young multi-artist Emelie Markgren present new instrumental inventions in an encounter with northern Norwegian nature. Together, the two composers have created music for nearly 100 films. Sebastian Rubinstein Öberg for directors such as Jan Troell. Magnus Jarlbo composed the music for the Berlinale winner "A Soap".